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Rob Bridgett
Creative Game Sound Production: Leading With Sound

Of the many differences between game development and film production, the presence of sound personnel as full-time employees on game teams from day-one presents clues and opportunities as to how involved in the creative process sound, dialogue, music and mix designers can be.

Tim Harrison, Raoul Brand and Peter Strickland
In Flux: The analogue and the digital in sonic storytelling

Sound designer Tim Harrison, re-recording mixer Raoul Brand and director Peter Strickland will discuss their work on the film "Flux Gourmet" and beyond, with a focus on the interplay between analogue and digital approaches. The filmmakers will revisit the sound process of "Flux Gourmet", telling the stories behind key scenes – from melting hydrophones in miso soup, to the hunt for the perfect stomach rumble, whilst trying to maintain a sense of play through to the end of the final mix.

Gustavo Costantini
Music in Film - Part 2

These talks will focus on music in film and audiovisuals - as opposed to film music - which means they’re not only about original, composed scores, but also any kind of music present in a production. Through the two talks, we’ll explore the many functions music performs in an audiovisual work and how music interacts with the editing, establishing an interesting syntax between image and sound.

Amie Siegel, artist talk

Amie Siegel works variously across film, photography, performance, and sculpture, exposing and connecting multiple strata of meaning. The artist will discuss her unique approach to sound, music and the plasticity of the film medium, including recent works The Silence (2022), Asterisms (2021) and Winter (2013).

Gustavo Costantini
Music in Film - Part 1

These talks will focus on music in film and audiovisuals - as opposed to film music - which means they’re not only about original, composed scores, but also any kind of music present in a production. Through the two talks, we’ll explore the many functions music performs in an audiovisual work and how music interacts with the editing, establishing an interesting syntax between image and sound.

Martine Huvenne & Nathalie Teirlinck
The Audiovisual Chord in Fiction Filmmaking

In the third part of her series on embodiment in sound, Huvenne is joined by Belgian filmmaker Nathalie Teirlinck to focus on the necessity of integrating sound within scriptwriting, at the very beginning of a film's development. Using this type of creative strategy, sound as a dynamic movement and the superimposition of auditory and visual spaces become useful tools.

Rana Eid
Mute/Unmute

Due to the tragic events in the Middle East, both Rana and the School of Sound felt it best to reschedule her talk for a later date. Those who have purchased tickets will receive a refund and we’ll contact you with the new date.

Martine Huvenne:
Embodiment in Sound

The Audiovisual Chord - In the first of a series, Huvenne sets out an approach to filmmaking as a composition of sound, music, speech and images. And within this approach, the embodied first person perspectives of both the listener/spectator and the creator each play crucial roles.

James Hannigan:
On being a screen composer for games, television and audio drama

Having gained a worldwide reputation for his work composing games music (Harry Potter, RuneScape, Command and Conquer and more), BAFTA winner James Hannigan transitioned into television series and audio drama including Audible's The Sandman and Alien series. This reflective discussion centres on Hannigan's experiences in the various entertainment industries, exploring the distinct narrative demands, production methods, and audience responses across these diverse mediums.

Stephen Deutsch:
How (Not) To Become A Film Composer

The growing popularity of film music has intensified the desire of many composers to enter the world of film, tv and games music.
But how does a young person take the first steps to enter the profession? What skills do they need, what training should they seek, what attitudes should they develop to help them achieve this goal?

Sinéad Rushe
Polyphonic characterisation: Composing Iago in Shakespeare’s Othello

Theatre director Sinéad Rushe discusses the rehearsal process for her forthcoming production of Othello at London's Riverside Studios (4-28 October). In collaboration with sound designer Ali Taie, the production explores live vocal manipulation to evoke the nightmarish mental space of Othello’s hijacked, distorted imagination.

Midge Costin and Guests: Hollywood Sound

Midge Costin, director/producer of Making Waves: The Art of Cinema Sound, and four masters of American film sound, discuss the current state of Hollywood soundtrack production.